My interview with Walker Downey proved too substantive to limit to just one episode of Dangerous History. You can listen to Part One here, and Part Two over here. Walker examines the intersection of “experimental music” and “sound art,” a transdisciplinary, technological practice that evolved over the decades between WWII and Vietnam. Together we discuss works that fall between the purview of art history and musicology, with a focus on the subversive nature of noise as a category of experience. The institutions and figures around which these compositions or performances accreted are considered alongside the determinative nature of media itself (magnetic tape, for example) in an attempt to determine their relative significance. A project about radio-as-art, on the radio, in two parts.
Walker Downey’s current research is focused on a cross-disciplinary network of American artists, musicians, and dancers that used media such as magnetic recording tape, FM radio, and transistor electronics to carry out experiments with electronic sound in the Fifties, Sixties, and Seventies. At this time, new experimental milieus and stylistic vocabularies took shape within underground music studios, city discotheques, and independent radio stations as diverse practitioners converged around the creative affordances of particular media. He is interested in these hybrid traditions of experimental sound that exceed historical categories such as “sound art” and “electronic music.” As Walker’s research explores, these traditions were distinguished not only by their defiance of disciplinarity and medium-specificity, but by a politically driven engagement with understandings of technological “function” and “dysfunction,” “communication” and “interference” central to the intellectual climate of the Cold War.Read More